@article{oai:teapot.lib.ocha.ac.jp:00039326,
 author = {上杉, 奈央子 and UESUGI, Naoko},
 journal = {人間文化創成科学論叢},
 month = {Mar},
 note = {application/pdf, 紀要論文, Edmund Gurney(1847-1888), an English writer in the later nineteenth century, is known today largely for the book he published in 1880, The Power of Sound, in which he discussed various problems related to music and musical experience. For Gurney, the most essential element in music is melody, and he defined ‘melodic form’ as successive processing of tones in time, that is, a perceived forward-going ‘movement’, where form and motion meet. He considered this ‘movement’ is uniquely musical \
phenomenon, and called it ‘Ideal Motion’. This paper examines, through analysis of description in The Power of Sound, the idea of ‘Ideal Motion’ and its position in his concept of musical form, and reveals \
that ‘Ideal Motion’ is not only the essential ‘melodic form’, but also constitutes, from the view point of musical structure, a ‘part’ of a whole musical structure. This observation would provide a logical base to his emphasis on ‘part’ in musical structure, which has been thought-provokingly advocated as ‘music in the moment’ by recent musical aesthetician, Jerrold Levinson.},
 pages = {21--28},
 title = {E. ガーニーの‘Ideal Motion’考},
 volume = {16},
 year = {2014}
}